UNDERDOG of PERFECTION

Since I was in my mid-20s when Pokémon was created, I never really “got” it. The only thing I knew about it was the whole seizure thing. But then I had kids. Just before he turned 4, my son went through a brief-but-intense phase of obsession with the Pokémon cartoons and toys just before he discovered Mario and the video game floodgates opened, leaving all past obsessions (Thomas, Star Wars, etc.) in the dust (if you’ll pardon the mixed metaphor).

So as the video game thing took off, I bought him Pokémon FireRed for the Game Boy Advance, thinking I could tap into his pre-video game interest. I vaguely knew that the games were RPG-style, but I didn’t make the connection that, unlike in many games, where there’s reading but it’s fairly inconsequential, in a Pokémon game it is absolutely essential that you be able to read in order to play. Since my son’s still a pre-schooler, that didn’t work out so well.

Eventually, I decided to give the game a try myself, and I’ve become completely hooked. It’s kind of ridiculous, but the characters are tremendously varied and creative, with clever names, and the RPG elements of the game are solid and very well-done. What can I say, it’s fun!

But it wasn’t until I encountered one particular foe, that’s not only funny looking but very cleverly named, that I fully embraced the Pokémon world: I’m not even sure what it is, but it appears to be a purple, wheezing puff bag, with a very self-satisfied smile, oozing toxic fumes, named (I love this) “Koffing.” And here it is, in all its nasty glory. Apparently there’s a mutant evolved version named “Wheezing” as well.

Obviously I’m not the only person who appreciates Koffing’s unique appeal. He’s achieved the ultimate honor: an “ate my balls” page.

In a rare bout of overabundant creativity (or inadequate self-restraint), I have finished not one but two CDs for the RPM Challenge. They’re available now on CD from Kunaki.

The first project, Unnatural Disasters, is a more traditional album of 9 tracks in styles running from straight-ahead rock to prog rock to Bitches Brew-era Miles Davis electric jazz to electronica, and running a little over 36 minutes. The music could serve as a soundtrack for a world tour of the strange places I’ve written about in my blog.

Also unnatural but less of a disaster, the second project, a single 38-minute track, is a piece of minimalist electronica with a structure based on the composition of a technetium atom. It is, appropriately enough, entitled Technetium. Up close, the music is ever-changing, yet on a large scale it is completely static; it doesn’t really go anywhere, but it also never precisely repeats in its entire 936 measures. It went from concept to completed album in about 6 hours, which is the half-life of technetium’s least-stable isotope.

You can learn more about the two projects, and listen to streaming versions of all tracks from the albums, by clicking on their respective covers to the right.

I’ve always been a bit wary of revealing too much information about myself online. Given some past incidents with (admittedly indeterminate) potential for danger to my person, it’s been clear that there is no anonymity online. That said, I’ve taken some solace in the fact that my name is common. So common, in fact, that I don’t even mind stating online that I live in Minneapolis, because last time I checked, there were a column and a half of Scott Andersons in the Minneapolis phone book, and I’m not even one of them!

But I’ve always kind of had this idea that I’m “the” Scott Anderson of the Internet. I figured that I’m so immersed in this stuff and have been for so long (having created my first website in 1994), and I’ve encountered so few other Scott Andersons online that I must, therefore, have the greatest online presence of any of the world’s (approximately) hundred megabazillion Scott Andersons.

A quick Google search taught me how wrong I was.

It’s not just that there are a lot of other Scott Andersons online; they all seem like they’re more me than me: musicians, writers, photographers, all manner of creative activities. And I (the real Scott Anderson) didn’t even show up until page 5 of the results!

So now it’s clear to me that I need to become a little less anonymous! Either I need to plaster my name all over everything I do, or I need a less common name. Given my inherent laziness, I’m inclined to go with the latter. I wonder if Griddlecake K. Catafalque is taken.

Geez, writing headlines like that I could get a job at Entertainment Weekly.

Anyway… although I would not consider myself a fan of Fall Out Boy (in fact, I’ve never even knowingly heard any of their music other than that snippet of the song that plays on the annoying workout guy’s cell phone in the commercial that seemed to be all over TV at one point last year), I can definitely get behind their lead singer Patrick Stump’s embrace of GarageBand. I’m not a pro musician, but I do have a B.A. in music, so I know a thing or two about it. I spent several years doing home recordings with Pro Tools LE (which, as far as I know, is limited from the full version only in the models of Digidesign hardware it accepts as dongles), and I hated how it broke with every OS update (because it was “breaking the rules” of how software should interact with hardware) and how ridiculously convoluted it was to do things as simple as set up a click track!

GarageBand has revolutionized my music making (including my latest project which I just finished as part of the 2008 RPM Challenge, and as Apple’s profile of Patrick Stump shows, it’s had a similar impact on how Fall Out Boy records.

I’ve finished my submission for the RPM Challenge, a 9-track, 36 1/2-minute album entitled Unnatural Disasters.

Read all about it and listen to the tracks here!